AJAT LESMANA  DIDGERIDOO PLAYER FROM INDONESIA

Nah, ini adalah blog AAS didgeridoo buatan   Bali dan Bandung Indonesia yang didgeridoo sendiri adalah alat musik asli pribumi aborigin yang telah populer saat ini. Didgeridoo telah banyak ditunjukkan di banyak negara, terutama Australia dan Inggris di Indonesia tidak ketinggalan  karena negara kita negara musik tohh & memiliki  jiwa yang seni tinggi,salah satu pemain dari Indonesia yang  terkenal adalah AJAT Lesmana yang mana dialah yang menggawangi lahirnya art shop AAS di Bali yang kami telah produksi sekarang, mas ajat telah sering bepergian ke berbagai negara mewakili Indonesia.wuihhh disini kami  bisa memproduksi didgeridoo dalam skala besar bahkan telah banyak di ekspor ke luar negeri karena keunggulan kami selalu memberikan inovasi dan nilai seni tinggi karena produk Didgeridoo yang kami tawarkan juga belum pernah kalah dari produk asing lainnya. Jika Anda ingin membeli atau menjual kembali atau ingin menjafi agen kami Anda dapat menghubungi kami ANISA ART SHOP BALI.

Seperti apa didgeridoo sebagai makna, sejarah, cara bermain, dan memiliki manfaat  apa saja telah yang diuraikan di bawah ini mungkin berguna & manfaaat  terima kasih telah mengunjungi blog kami jika Anda tidak keberatan kami sangat mengharapkan  komentar, kritik dan saran.andaa :0


AAS didgeridoo buatan  Bali dan Bandung suara merdu berseni tinggi dan dijamin berkualitas  untuk pemesanan langsung hubungi +6281353007432 (owner ) Pak Iwan.... thanksss

MANFAAT DIDGERIDOO BAGI KESEHATAN ? 



Sebuah studi di British Medical Journal 2005 menemukan bahwa belajar dan berlatih didgeridoo membantu mengurangi mendengkur dan apnea tidur obstruktif dengan memperkuat otot-otot di saluran napas bagian atas, sehingga mengurangi kecenderungan mereka untuk runtuh selama tidur.

 Dalam studi tersebut, subyek intervensi dilatih dan dipraktekkan didgeridoo bermain, termasuk pernapasan melingkar dan teknik lainnya. Subyek kontrol diminta untuk tidak memainkan instrumen. Subyek yang disurvei sebelum dan sesudah masa studi untuk menilai efek dari intervensi


PERAN DIDGERIDOO DALAM I NDUSTRI MUSIK


Didgeridoo juga menjadi peran bermain instrumen dalam musik eksperimental dan avant-garde. Musik band industri seperti Departemen Uji dihasilkan suara dari instrumen ini dan menggunakannya dalam pertunjukan industri mereka, menghubungkan ekologi untuk industri, dipengaruhi oleh musik etnis dan budaya.
Hal ini juga menjadi instrumen yang digunakan untuk fusi irama Aborigin dengan suara black metal, sebuah proyek musik bernama Naakhum yang menggunakan spiritualitas orang-orang Aborigin dan banyak lainnya sebagai pendekatan.

Asam band jazz Jamiroquai dikenal untuk mereka didgeridoo pemain Wallis Buchanan. Pada hari-hari awal band, banyak lagu mengeksplorasi tema ekologi dan orang-orang dari budaya asli terpinggirkan oleh penjajahan. Sebuah lagu terkenal menampilkan didgeridoo adalah band pertama tunggal "Ketika Anda Mau Belajar", yang menampilkan didgeridoo terkemuka bermain di kedua pengenalan dan bagian solo. Ketika Wallis Buchanan meninggalkan band pada tahun 1999, band ini memilih untuk tidak menggantikannya, dan hanya meninggalkan penggunaan instrumen dalam musik mereka.


SUMBER: WIKIPEDIADIDGERIDOO

MENGAPA BERMAIN Didgeridoo?     

Bermain untuk menghasilkan sebuah seni musik

Orang bermain didgeridoo untuk semua macam alasan lohh. Tentu saja, alasan yang paling umum mengapa orang bermain didgeridoo hanyalah untuk membuat/menghasilkan  beberapa jenis suara musik.

Buzz-contohnya dengung didgeridoo telah dikaitkan dengan segala macam deskriptor berwarna-warni. Ini telah dikaitkan dengan suara ibu bumi 'dengan roh, hewan, serangga atau efek elektronik psy-trance dan techno. Asosiasi ini luas dan beragam telah memberikan didgeridoo daya tarik yang unik, luas dan khususnya pribadi hehehe...

Didgeridoo menawarkan suara yang sangat serbaguna. Hal ini dapat bersahaja atau listrik, cepat atau lambat, ingar-bingar atau menenangkan atau berbagai suara kontras lainnya. Kemampuan ini membuat didgeridoo cocok untuk berbagai tujuan.

 dengung didgeridoo yang kuat memiliki kemampuan untuk menangkap penonton perhatian terus nya. Selanjutnya, metode meniup didgeridoo dengan bermain menggunakan  bibir dan mulut, dipertahankan melalui teknik mengesankan pernapasan melingkar, adalah sumber konstan daya tarik bagi pemirsa.

Kemampuan instrumen untuk menusuk penonton telah dimanfaatkan oleh banyak pemain profesional di seluruh dunia dan solo didgeridoo telah muncul sebagai bagian penting dari pemain didgeridoo kontemporer . Namun, didgeridoo hanya sama-sama bisa menemani instrumen lain dalam kelompok seperti terkesan penonton dengan suara tunggal nya. Ini keunikan suara dan fleksibilitas telah membuat instrumen harus memiliki  banyak musisi kontemporer.

Belajar tanpa belajar

Tidak perlu  lembaran/tangga nada musik saat bermain didgeridoo heee

Anda tidak perlu membaca lembaran musik saat belajar main didgeridoo.

Mungkin fitur yang paling menarik dari didgeridoo adalah kemampuannya untuk dipelajari tanpa pelatihan formal dalam teori musik. Orang tidak harus bisa membaca musik untuk bisa bermain didgeridoo. Ini mungkin adalah sedikit kelebihan  jika bermain didgeridoo: Anda bisa membelinya dan mulai 'bermain' langsung. Anda akan dapat memainkan alat musik tanpa harus membaca musik atau belajar bermain catatan! Akhirnya, Anda dapat mencapai impian Anda untuk memainkan alat musik! hehehee

Memang, Anda tidak perlu tahu apa-apa tentang musik untuk dapat bermain, menyimpan untuk memiliki beberapa arti dasar irama yang setiap orang memiliki. Bahkan jika Anda merasa Anda tidak memiliki rasa irama (yang tidak Anda lakukan -? Anda bisa menghitung dalam waktu sementara berjalan tidak jalan tidak bisa Anda), ini dapat dengan mudah diperoleh saat Anda berlatih.

Belajar Didgeridoo adalah belajar untuk tidak dengan membaca catatan, tetapi dengan mengamati dan mengikuti teknik pemain profesional, berlatih teknik ini, dan kemudian mengembangkan gaya bermain Anda sendiri dan irama.

Untuk memulai belajar didgeridoo, semua yang perlu Anda lakukan adalah  membuat drone dasar dan akhirnya mempertahankan ini melalui pernapasan melingkar. Mudah! Bahkan tingkat bermain sudah cukup untuk menangkap perhatian penonton. Dari sana, terserah kepada Anda untuk mempelajari teknik-teknik lebih lanjut dan menggunakan ini dalam irama didgeridoo Anda sendiri.MANTAP kann

Menjadi instrumen ritme didgeridoo sangat fleksibel dan terbuka bagi Anda untuk belajar atau menyusun segala macam teknik dan irama untuk solo unik Anda. Setelah Anda memiliki pemahaman dasar tentang teknik ini, Anda akhirnya akan dapat 'memainkan alat musik' seperti Anda selalu ingin! Di mana Anda mengambil dari sana, dan bagaimana Anda menggunakan keterampilan baru ditemukan Anda akan sampai kepada Anda sendiri.

SUMBER: HOWTOPLAYDIDGERIDOO.COM

apakah Perempuan bermain  didgeridoo

Ada banyak perdebatan mengenai apakah perempuan bisa bermain didgeridoo dan itu pasti telah menyebabkan banyak  kontroversi  . Ketika buku penerbit Harper Collins menerbitkan 'The Daring Book for Girls' yang mendorong perempuan untuk bermain didgeridoo, dan ketika Nicole Kidman 'bermain' didgeridoo di TV Jerman, perhatian media memicu kontroversi.wahh!!

media ini seperti biasa, mengabadikan gagasan bahwa hal itu adalah tabu bagi perempuan untuk memainkan didgeridoo dan bahaya yang bisa datang kepada mereka sebagai akibatnya.

Jadi apakah bisa dimainkan perempuan didgeridooitu? Karena saya tidak memenuhi syarat untuk mengomentari topik ini sensitif, saya justru akan mengutip langsung dari situs web dari Pusat Buku-Larrngay Mulka Seni dan Museum , pusat budaya utama untuk Northeast Arnhemland begini lohh:

"Ini mungkin berbeda dgn komunitas Aborigin lainnya, tetapi dalam Miwatj, pendapat mayoritas adalah bahwa tidak ada bahaya akan datang ke perempuan yang bermain. Bermain untuk bersenang-senang adalah aktivitas fisik yang sederhana, bukan yang spiritual berbahaya. Tapi, yang paling penting, oleh hukum dan adat, perempuan Yolnu tidak bermain yi d aki. Jadi saran terbaik untuk wanita non-Yolnu adalah untuk membuat pilihan nya sendiri untuk dia lakukan pada waktu dia sendiri, ketauhilah bahwa ada beberapa Yolnu yang akan mendorong mereka untuk bermain.

Namun sangat sensitif tentang dengan siapa Anda . Jika Anda berada di Arnhem Land atau di hadapan orang dari Arnhem Land,periksala hati2  bahwa tidak ada yang akan marah sebelum bermain. "hehehe,,..

Kutip diambil dari:http://www.yirrkala.com/yidaki/dhawu/35miyalk.html

Selanjutnya, ididj Australia , seorang budayawan Australia mengatakan penting juga mengomentari masalah ini:

"Meskipun didjeridu menjadi instrumen yang berorientasi laki-laki dalam budaya Aborigin Australia, wanita non-adat di seluruh dunia telah mulai mengeksplorasi kemungkinan musik dari didjeridu.

Ada perbedaan pendapat yang berkaitan dengan antara orang-orang Aborigin, mulai dari dorongan dan hiburan untuk ketidakpedulian dan benar-benar cemoohan .

Umumnya pria Aborigin di komunitas 'Top End' tidak punya masalah dengan wanita non-Adat bermain didjeridu. Mereka beralasan bahwa aturan dan kondisi budaya yang mengatur perilaku dalam masyarakat adat tidak berlaku untuk wanita non-pribumi, yang terikat oleh mereka sendiri, hukum Barat dan kode moral. "

Kutip diambil dari: http://www.ididj.com.au/theDidjeridu/play.html

Bagi wanita di luar sana mencari beberapa dorongan, tidak terlihat lagi dari Kebohongan Beijerinck, 'ibu Didge dari Belanda'.  dalam  bermain didgeridoo kontemporer dengan terbuka  dengan  memberikan contoh yang bagus untuk semua perempuan pemain didgeridoo  di luar sana untuk mencari inspirasi.wuihhh!! 

sumber:www.howtoplaydidgeridoo.com

Apa Itu  didgeridoo kontemporer?

didgeridoo kontemporer adalah setiap gaya bermain didgeridoo dimainkan dalam konteks modern, musik kontemporer.didgeridoo Kontemporer  memanfaatkan bentuk penting dari didgeridoo, bahwa menjadi panjang, tabung hampa, untuk menghasilkan suara yang unik yang dapat digunakan dalam segala macam pengaturan musik kontemporer.

Gaya tradisional didgeridoo dimainkan, dan  diajarkan denagn baik oleh orang Australia pribumi yang merupakan pemilik tradisional didgeridoo. Untuk informasi di mana untuk mempelajari lebih lanjut tentang didgeridoo tradisional, bisa di lihat di situs www.howtoplaydidgeridoo.com yaaa :)

Didgeridoo dapat digunakan sebagai alat musik modern.

 didgeridoo gaya kontemporer  adalah yang  dimainkan oleh semua musisi, pengamen dan lounge room pemain didgeridoo di luar sana yang bermain karena mereka menyukai suara didgeridoo dan menikmati kualitas yang unik sebagai alat musik. Gaya bermain kontemporer sebagian besar diserahkan kepada imajinasi, pengaruh dan keterampilan para pemain seperti apa jenis suara dan irama yang mereka ingin mainkan . jadi tidak tergantung jenis nada tertentuu yaaa imajinasi ajaa ayoo cobaaa... 

sumber: www.howtoplaydidgeridoo.com

12 Player Didgeridoo modern 

Memang  terdengar formal ya , 'kontemporer didgeridoo' tidak memiliki konvensi bermain formal dan hanyalah sebuah istilah yang digunakan untuk menggambarkan bermain non-tradisional.

Bermain kontemporer menggunakan berbagai teknik, seperti yang dijelaskan dalam situs www.howtoplaydidgeridoo.com, untuk membuat suara didgeridoo atau irama. Seorang pemain kontemporer memiliki jangkauan bebas untuk menggunakan teknik ini untuk mengembangkan gaya unik mereka sendiri bermain kontemporer.

Orang bermain didgeridoo kontemporer untuk segala macam alasan, apakah itu untuk meditasi, untuk menghibur teman-teman dan keluarga, untuk menghasilkan musik solo, untuk bermain dalam sebuah band, atau hanya untuk menciptakan suara yang besar! Dunia kontemporer didgeridoo menawarkan sejumlah besar teknik, suara, ritme dan bermain skenario untuk memuaskan siapa saja yang ingin mempelajari lebih lanjut tentang alat unik ini hehehehe

 Yang Terkenal dan sangat berbakat bermain didgeridoo kontemporer adalah ini 12 nama teratas

 Coba aja liat di Link YouTube

Dubravko Lapaine
Kebohongan Beijerinck
Zalem
Si Mullumby
Hernan Livolsi
Ondrej Smeykal
Coma
Jake Duncan
Gauthier
Xavier Rudd
Marcus Meurer
Steven Heath
Tentu saja, ada banyak lagi pemain didgeridoo menakjubkan kontemporer di luar sana dan saya tidak  perlu untuk menambahkan lebih banyak daftar kan , ini hanya beberapa favorit saya. Let me know di halaman kontak saya jika Anda berpikir pemain lain harus terdaftar (atau ingin link sendiri!) hehehe .

Para pemain telah bermain  didgeridoo kontemporer  ke dunia baru nya . Mereka bermain  di garis depan didgeridoo kontemporer dan menginspirasi orang di seluruh dunia dengan suara dan irama kamu  tidak akan berpikir mungkin ketika Anda pertama kali mulai bermain itu . Biarkan orang-orang ini menjadi inspirasi saat Anda belajar cara bermain didgeridoo! oke yaaa

sumber:www.howtoplaydidgeridoo.com

 Tentang Didgeridoos (RiDU2)

Didgeridoo pada  zaman modern ini telah banyak versi loh  salah satunya  versi kontemporer dari instrumen woodwind tradisional yang digunakan oleh masyarakat adat Utara Australia. yaitu instrumen dalam bentuk tabung berongga yang dapat menghasilkan suara dengung melalui getaran dari bibir seseorang di ujung corong.

Didgeridoos dengan  bentuk dan ukuran dan yang paling luas dikategorikan sebagai tradisional atau non-tradisional.

Didgeridoos tradisional yang sebenarnya  tidak  disebut 'didgeridoos' tapi  disebut dengan nama tradisional mereka seperti yidaki, di Timur Arnhemland, dan mago, di West Arnhemland. Mereka dimainkan oleh orang-orang pribumi dalam upacara dan untuk acara-acara sosial dan rekreasi lainnya.

Pembuatan dan memainkan didgeridoos itu  adalah bagian yang sangat penting dari budaya Aborigin dan upacara dan masyarakat adat  kustodian tradisional.

Instrumen ini biasanya dibuat dari beberapa jenis batang pohon eucalyptus yang telah alami dilubangi oleh rayap gitu . Pohon hidup yang sesuai dipilih oleh pengrajin master yang dapat mengidentifikasi apakah pohon itu berlubang sebelum dipotong. Setelah pohon ditebang, diambil kembali , sebelum dilucuti dari kulit kayu dan dibentuk menjadi alat musik tradisional. Selama proses ini , kelebihan lapisan kayu sering dihapus untuk mengurangi ketebalan dinding instrumen dan juga untuk  membersihkan dari lubang jika diperlukan.

Corong juga mungkin memerlukan penambahan lilin lebah jika dimensi alam terlalu lebar untuk bermain dengan nyaman. Instrumen tersebut kemudian disegel dan biasanya dicat dengan desain dan citra simbolik kepada pembuat tradisional.

Untuk informasi lebih lanjut tentang didgeridoos tradisional,liat aja ya seperti yang ini   Mulka Art Centre Buku-Larrngay, di Timur Arnhemland, atau Australia situs web ididj.

Didgeridoos non-tradisional, di sisi lain, yang dibuat oleh orang-orang dari seluruh dunia menggunakan segala macam teknik fabrikasi. Mereka biasanya antara 1m dan 3m panjang dengan lubang dari 25mm ke 50mm, dan dapat dibuat dari berbagai bahan alami dan buatan manusia yang berbeda.

Sebuah pemahaman baru dan apresiasi budaya adat dan penyebaran informasi tentang instrumen telah menyebabkan lonjakan popularitas didgeridoo. Juga, kemampuannya untuk dimainkan tanpa perlu belajar teori musik resmi telah lebih jauh menyebabkan daya tarik secara luas hehe . Seruan ini telah menyebabkan budaya muncul bermain didgeridoo kontemporer jugaa .

Bagaimana didgeridoodimaininnya

Secara teoritis, didgeridoo diklasifikasikan sebagai 'lip-buluh telepon udara'hah apa itu??. Ini adalah instrumen yang menggunakan bergetar bibir menyebabkan kolom udara dalam instrumen bergetar dan menghasilkan suara.

The unik 'drone' suara didgeridoo diciptakan dari getaran terus menerus dari bibir di corong telepon. Sebagai bibir bergetar, udara bergantian diblokir dan dirilis, menyebabkan pulsa udara, atau gelombang suara, untuk perjalanan naik dan turun didgeridoo pada frekuensi tertentu dan menghasilkan suara dengung waahh keren kan .

Kolom udara dalam didgeridoo menentukan frekuensi gelombang suara di didgeridoo, yang pada gilirannya menentukan nada dengung.

Dalam instrumen woodwind, kolom ini udara terus-menerus dipersingkat atau diperpanjang menggunakan lubang jari atau kunci, lapangan begitu berbeda, atau catatan, diproduksi. Dalam didgeridoos, kolom ini udara tidak dapat disesuaikan, sehingga lapangan yang tidak dapat diubah. Oleh karena itu, didgeridoos datang dalam satu tombol hanya umumnya dari C rendah ke tinggi F.Therefore, suara dari didgeridoo tidak dibuat dengan memanipulasi tubuh instrumen, tetapi dengan memanipulasi gelombang suara yang masuk instrumen pada akhir corong.

Pemain Didgeridoo mempekerjakan banyak teknik menggunakan bibir mereka, pipi, lidah, rahang, paru-paru, diafragma dan pita suara, untuk melakukan hal ini. Ini menghasilkan berbagai suara yang kemudian dibawa oleh didgeridoo mataff kan .



Suara didgeridoo tidak dapat diubah dengan menggunakan lubang kunci, seperti pada klarinet. Oleh karena itu, semua tiupan  harus dilakukan pada akhir corong.

Seperti instrumen lain yang memainkan satu catatan mendasar saja, didgeridoo digunakan untuk memutar irama, daripada melodi.

Seorang pemain didgeridoo dapat menghasilkan berbagai suara yang berbeda yang variasi didgeridoo itu. Suara dapat ditekankan, melunak, diasah dan diberi karakter dan warna dalam berbagai cara. Ketika digabungkan untuk menciptakan pola suara, mereka menghasilkan irama yang merupakan dasar untuk bermain.didgeridoo

Teknik-teknik untuk membuat suara-suara yang berbeda dijelaskan lebih lanjut di situs web www.howtoplaydidgeridoo.com. Teknik ini dapat digunakan dalam segala macam cara untuk menciptakan berbagai tak terbatas didgeridoo irama. Setelah Anda memiliki pemahaman yang baik tentang bagaimana teknik ini bekerja, Anda akan memiliki rentang gratis untuk mulai membuat irama unik Anda sendiri!asyiikkk

Untuk informasi lebih lanjut tentang ilmu di balik didgeridoo, coba aja  studi komprehensif tentang didgeridoo akustik oleh departemen Akustik Musik dari University of New South Wales.

sumber: www.howtoplaydidgeridoo.com

                              AJAT LESMANA  DIDGERIDOO PLAYER FROM INDONESIA

Well, this is a blog AAS didgeridoo made ​​in Bali and Bandung of Indonesia which own didgeridoo is a musical instrument native aborigines who had been popular at the moment. Didgeridoo has been widely shown in many countries, especially Australia and England in Indonesia was not lost because the country has such a high artistic soul one famous player is AJJAT Lesmana where her brother was also one of the owners of our company have stepped-lang traveling to various countries representing Indonesia. This is the original aboriginal didgeridoo but we can produce it on a large scale even in exports to foreign countries because of the excellence we are always giving innovation and high artistic value because that Didgeridoo products that we have not lost to other foreign products. If you want to buy or to sell back to the interested you can contact us ANISA ART SHOP BALI. 

As for what the didgeridoo as meaning, history, how to play, and so have the benefits described below may be useful thank you for visiting our blog if you please comments will be received by both critics and suggestions.


AAS didgeridoo made ​​in Bali and Bandung artfully melodious voice high and guaranteed for direct bookings please call +6281353007432



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ORIGIN

Choosing a didgeridoo can be a confusing process for the beginner because of the wide variety of didgeridoos available. Beginners that have not yet acquired an ear and eye for the sound and quality of a didgeridoo understandably find it hard to know what to look for.
It is important to start learning on a good quality didgeridoo, because this will offer the most satisfying sounds and will reward you for your efforts. A great sounding, easy to play didgeridoo will inspire you to keep playing.
If you have a poor quality didgeridoo, it will sound bad no matter how hard you try. It may also be very hard to play, to the point where you can't actually make any sounds at all.
This may be so disappointing you give up practicing, never to try again. Therefore, it is very important that if you are looking for a didgeridoo to get started, you make an informed decision and buy one that is easy to play and sounds good.
The section describes many of the features of a didgeridoo that can vary from instrument to instrument to affect its quality and playability. Understanding these features will help you in your selection of a good didgeridoo. Firstly, we need to look at the origin and 'authenticity' of didgeridoos.

Traditional vs non-traditional

Didgeridoos are either traditional or non-traditional. Traditional didgeridoos are made by the aboriginal people from Arnhemland where the instrument originated. These are not called ‘didgeridoos’ and are referred to by their traditional names by the aboriginal people, such as the Yidaki from North Arnhemland or the Mago from West Arnhemland. These instruments were made in accordance with a strong crafting tradition and cultural importance.

Map showing Arnhemland, the heartland of the didgeridoo.

Non-traditional didgeridoos are any other instruments that make the drone sound similar to the traditional instruments. These can be made by aboriginal or non-aboriginal people and come in a wide variety of materials, shapes and sizes.
When selecting a didgeridoo, you may wish to consider purchasing an authentic, traditional instrument to support the traditional makers and the continuation of the instrument’s cultural heritage. If this is the case, you will have to do your research and find a reputable supplier that sells traditional instruments.
For more information on traditional didgeridoos, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site.
It may not be possible or practical to buy a traditional instrument. Or, you may not want to play a traditional instrument until you have been taught by a traditional player and teacher. If this is the case, standard ethical and environmental considerations should be made when purchasing your non-traditional didgeridoo.
You will want to consider such things as whether environmentally sustainable methods were used to make the didgeridoo and whether or not the didgeridoo is being sold under false pretences of authenticity.
You will also want to consider the credentials of the supplier of the didgeridoo. If the didgeridoo is coming from a shop specializing in making and selling didgeridoos, it is likely they will have paid more attention to the quality of the instruments they are selling you.
If the didgeridoo is being sold in a souvenir shop along with a myriad of other indigenous paraphernalia, you will have to question whether any regard was given to the selection of the instrument for its authenticity or sound quality. Speak to the supplier; they should be able to talk to you confidently about their didgeridoos and answer any questions you have about the origin and workmanship.
Be aware; didgeridoos sold in most souvenir shops in Australia, along with all sorts of other tacky items, will most likely be a poor example of a didgeridoo. On a recent trip to Canada, at Sydney airport, I was appalled to see what were claimed to be 'didgeridoos' that were barely thirty centimetres long. These would have been completely unplayable.

Avoid buying your didgeridoo at souvenir shops that don't specialise in selling didgeridoos. These didgeridoos are usually of poor quality.
iDIDJ Australia has developed a Cultural Indications (CI) Index which differentiates didgeridoos on the basis of origins and cultural integrity. iDIDJ Australia encourages players to support the cultural heritage of the didgeridoo by purchasing CI 4 instruments - authentic traditional aboriginal didgeridoos hand made and decorated by traditional custodians of the instrument.
Note that this index is used to classify didgeridoos that claim to have aboriginal authenticity. iDIDJ Australia recognises that there are good quality instrument makers out there who do not claim to make authentic aboriginal instruments and do not try to pass them off as one. Check out the iDIDJ Australia web site for more information on their Cultural Indications Index.

CHOOSING A DIDGERIDOO

The mouthpiece

Note: The following section on the mouthpiece and making a sound will be better understood if you have learnt the playing techniques described in this site. This will get you familiar with making a range of sounds and make you more comfortable with testing the mouthpiece of potential didgeridoos.
The mouthpiece is one of the most important yet poorly understood features of the didgeridoo. Many times I have seen a completely playable didgeridoo rendered completely unplayable because of a poor mouthpiece and poor understanding as to what its role is.
The role of the mouthpiece is simple: to alter the diameter of the end of the didgeridoo so a players lips can comfortably vibrate without air escaping from the sides. These conditions will allow the lips to make a good drone.
Mouthpieces are used when the internal diameter of the mouthpiece end of the didgeridoo is too large and needs to be reduced so that air does not escape from the sides of the mouth while playing. Mouthpieces are usually made of either yellow, black or brown beeswax. Black or brown beeswax is the native Australian kind, while yellow beeswax is anything else.
If the internal diameter of the natural mouthpiece (without beeswax) is narrow and comfortable enough for the lips to be placed directly on the didge without air escaping from the sides, a mouthpiece may not even be needed. For this to happen, the natural mouthpiece will typically be 25-35mm in diameter.
Most Yidakis from North East Arnhemland are conical shaped and have very narrow mouthpieces, and as such are generally played without the need for a wax mouthpiece. Indeed, a wax-free mouthpiece is the preferred style for Yidaki players and many other players who believe this offers the most playing flexibility.
Many players feel that wax hinders the connection between the lips and the wood, and that the more direct contact there is with the wood, the more accurate and responsive the playing.
Didgeridoos that are not conical like the Yidaki, that is, those that are more cylindrical, will often have an internal natural mouthpiece that is too large to be played alone. If this is the case, there is no choice but to use wax to reduce the diameter of the mouthpiece.

Consider the natural diameter of the mouthpiece. If it is really wide and you need a huge wax mouthpiece, it may be harder to play. Narrow mouthpieces, like the one on the right, are generally easier to play and maintain.

What to look for

First, check to see if it is actually a beeswax mouthpiece. If it looks and smells like beeswax and feels like it could be molded when warmed, then it’s probably beeswax and is suitable to be used. If it’s something else, it probably won't last long as a suitable mouthpiece, or it may not be mouldable.
You need to consider whether the mouthpiece can be taken off the didgeridoo and replaced with a new mouthpiece in the case it is damaged or you need to adjust it to fit your mouth. This is easily done with a wax mouthpiece but not so easily done with other materials.
Some plastic beginner didgeridoos have rubber mouthpieces for example. These are OK but if it doesn't fit your mouth perfectly, just remove it and replace it with a wax mouthpiece which can be easily adjusted to suit your lips.
When testing wax mouthpieces, first check to see how big the internal diameter of the mouthpiece would be without wax. If it is a lot wider than about 50mm, you might want to reconsider your choice unless you can play it very easily and it has good back pressure. Didges with mouthpieces this wide are generally more difficult to play and have low backpressure. This will make it hard for beginners to get the hang of circular breathing.
Next place your lips on the mouthpiece. If you feel that you have to tightly pucker your lips to squeeze them into a small hole and you are just making a tight, tooting sound then the mouthpiece is too narrow.
If, instead, your lips go deep into the mouthpiece, there is a lot of space around your lips, and you make a ‘whooshing’ sound as you play, then the mouthpiece is too wide.
If either of these are the case, don’t worry, because you can easily adjust the mouthpiece to fit. Just ask the seller first. Warm it up a little with your hands or with some more playing, then gently knead the wax outward or inward with your thumb and index finger, aiming to get an even circumference. For information on this topic, see my page on adjusting and making a mouthpiece.
When adjusting the mouthpiece, your lips should vibrate consistently and fit comfortably so that there are no spaces between your lips and the mouthpiece that will allow air to escape. If air escapes from the sides of your mouth, you are losing pressure in the chamber of the didgeridoo as you blow. This will cause you to lose the all important ‘backpressure’ of the didge.
If you have more time to adjust the mouthpiece, a slightly raised rim around the edge of the mouthpiece hole may help you play a bit better.
Once you have readjusted the mouthpiece, try playing the didgeridoo again and aim to get a good drone sound. If you get a good sound without too much adjusting of the mouthpiece, you can start to explore its possibilities and consider its other qualities as a potential instrument.
If no matter how hard you try with the mouthpiece, you aren’t getting a good sound, you might want to look for a didge that works with you better. If you are really unsure, as with all of these criteria, have someone else play for you to demonstrate the didgeridoo's potential.
If someone else plays some wicked sounds (that can be maintained for a good period) you might want to persevere. Mouthpieces are forever adjustable, so you may just need to do a little more tinkering to get the right shape.
Be careful that your didgeridoo mouthpiece is not too wide. It is a common phenomenon that beginners have a lot of trouble with getting a good drone on their didge because they didn’t realize their mouthpiece was too wide. Subsequently their lips are too loose, they lose backpressure, and find it hard to learn circular breathing.
I would recommend starting off with quite a narrow mouthpiece (around 26mm), then gradually opening it up as you test it and try to get a good drone.
Also be careful that the mouthpiece is not made of too much wax. There are some awful didgeridoos out there being sold with huge clumps of wax mashed onto the end by lazy manufacturers. A large bulky mouthpiece is unnecessary, and serves to distance the lips from the actual didgeridoo, making it quite cumbersome to play and unresponsive to intricate mouth movements. A large wax mouthpiece can also dampen the effect of the sound waves as they travel from the lips.
If the mouthpiece of the didgeridoo does not have a wax mouthpiece and you can play it comfortably without one, then this is already a good indication of a good quality didgeridoo. You may not need to use any wax at all, or just a little to provide some comfort for the lips. Conical shaped didges with narrow mouthpieces are most conducive to easy playing.
Whatever kind of didgeridoo you are considering, just make sure that you adjust the mouthpiece as best as possible while you are testing it. You do not want to disregard a perfectly good didgeridoo just because the mouthpiece is initially not the right shape and you don't know what to do with it.
For more information see my page on making and adjusting a

Playing styles

Traditional didgeridoo

Traditional didgeridoos are mainly used in conjunction with singing, clap sticks and dancing for ceremonial purposes, however they can also be played informally. The instrument is typically played in ceremonies by one young man specially selected for his talent. Playing styles vary between different regions of Northern Australia and often involve fast, complex rhythms with sounds created by intricate tongue work.

The knowledge and rhythms required for each playing style is passed down by word of mouth. Much more information about the history, construction and ceremonial role of the traditional instrument can be gathered from those people and organizations that have a direct relationship with the instrument.

Information on this subject is best provided from these sources. If you would like to know more, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site. A visit to Arnhemland would also help your acquisition of knowledge immensely.

While it sounds formal, ‘contemporary didgeridoo’ has no formal playing conventions and is merely a term used to describe non-traditional playing.

Contemporary playing uses various techniques, such as those described in this site, to create a didgeridoo sound or rhythm.  A contemporary player has free range to use these techniques to develop their own unique style of contemporary playing.

People play contemporary didgeridoo for all kinds of reasons, whether it be for meditation, to entertain their friends and family, to produce solo music, to play in a band, or just to create a great sound! The world of contemporary didgeridoo offers a huge range of techniques, sounds, rhythms and playing scenarios to satisfy anybody wishing to learn more about this fascinating instrument.

Well known and very talented contemporary didgeridoo players include:

YouTube links

• Dubravko Lapaine
• Lies Beijerinck
• Zalem
• Si Mullumby
• Hernan Livolsi
• Ondrej Smeykal
• Goma
• Jake Duncan
• Gauthier
• Xavier Rudd
• Marcus Meurer
• Steven Heath

Of course, there are many more amazing contemporary didgeridoo players out there and I need to add more to the list; these are just some of my favourites. Let me know on my contact page if you think other players should be listed (or would like a link yourself!).
These players have taken contemporary didgeridoo playing to a new realm. Their playing is at the forefront of contemporary didgeridoo and is inspiring people the world over with sounds and rhythms you would not think possible when you first begin to play. Let these people be an inspiration as you learn how to play didgeridoo!

ABOUT THE DIDGERIDOO

Didgeridoos explained

A didgeridoo is a modern-day, contemporary version of the traditional woodwind instrument used by the Northern Australian indigenous people. It is essentially any instrument in the shape of a hollow tube which can produce a droning sound through the vibration of one’s lips at the mouthpiece end.
Didgeridoos come in all shapes and sizes and are most broadly categorised as traditional or non-traditional.
Traditional didgeridoos are not in fact called 'didgeridoos' and are instead referred to by their traditional names such as yidaki, in North East Arnhemland, and mago, in West Arnhemland. They are played by the aboriginal people in ceremonies and for other social and recreational occasions.
The making and playing of didgeridoos is a very important part of aboriginal culture and ceremony and the indigenous people remain its traditional custodian.
The instrument is typically crafted from certain types of eucalyptus tree trunks that have been naturally hollowed out by termites. Suitable living trees are selected by master craftsmen who can identify whether a tree is hollow before it is cut. After a tree is felled, it is taken back for curing, before being stripped of bark and shaped into a traditional instrument. During this shaping process, excess layers of wood are often removed to reduce the wall thickness of the instrument and some cleaning out of the bore may be required.
The mouthpiece may also require the addition of beeswax if its natural dimensions are too wide to play comfortably. The instrument is then sealed and usually painted with designs and imagery symbolic to the traditional makers.
For more information on traditional didgeridoos, a good source of information is the Buku-Larrngay Mulka Art Centre, in North East Arnhemland, or the ididj Australia web site.
Non-traditional didgeridoos, on the other hand, are made by people from all over the world using all kinds of fabricating techniques. They are typically between 1m and 3m in length with a bore of 25mm to 50mm, and can be made from many different natural and man-made materials.
A newfound understanding and appreciation of indigenous culture and the spread of information about the instrument has led to a surge in popularity of the didgeridoo. Also, its ability to be played without the need to learn formal music theory has further led to its widespread appeal. This appeal has led to an emerging culture of contemporary didgeridoo playing.

How a didgeridoo works

Theoretically, the didgeridoo is classified as a ‘lip-reed aerophone’. This is an instrument that uses vibrating lips to cause a column of air within the instrument to vibrate and produce a sound.
The unique ‘drone’ sound of the didgeridoo is created from the continuous vibration of the lips in the mouthpiece. As the lips vibrate, air is alternately blocked and released, causing pulses of air, or sound waves, to travel up and down the didgeridoo at a certain frequency and produce the drone sound.
The column of air within the didgeridoo determines the frequency of the sound waves in the didgeridoo, which in turn determines the pitch of the drone.
In woodwind instruments, this column of air is constantly being shortened or lengthened using finger or key holes, so different pitches, or notes, are produced. In didgeridoos, this column of air cannot be adjusted, so its pitch cannot be changed. Therefore, didgeridoos come in one key only generally from a low C to a high F.Therefore, sounds of the didgeridoo are not made by manipulating the body of the instrument, but by manipulating the sound waves that enter instrument at the mouthpiece end.
Didgeridoo players employ many techniques using their lips, cheeks, tongue, jaw, lungs, diaphragm and vocal chords, to do this. This produces the range of sounds that are then carried by the didgeridoo.

The sound of a didgeridoo cannot be changed using key holes, like on a clarinet. Therefore, all the work must be done at the mouthpiece end.
Like any other instrument that plays one fundamental note only, the didgeridoo is used to play rhythms, rather than melodies.
A didgeridoo player can produce a range of different sounds that are variations of the didgeridoo's fundamental note. The sounds can be accentuated, softened, sharpened and given character and colour in a variety of ways. When these are combined to create patterns of sound, they produce rhythms which are the foundation for didgeridoo playing.
The techniques to create these different sounds are described further on this web site. These techniques can be used in all manner of ways to create an infinite range of didgeridoo rhythms. Once you have a good understanding of how these techniques work, you will have free range to start creating your unique rhythms of your own!
For more information on the science behind the didgeridoo, check out the comprehensive study on didgeridoo acoustics by the Music Acoustics department of the University of New South Wales.

CHOOSING A DIDGERIDOO

Sound

Of course, a very important feature of the didgeridoo will be its sound. This can be quite subjective, depending on the personal tastes of each person. However, the sound of a good didgeridoo should generally have a few characteristics you should be looking for.
First, test the didgeridoo by playing it. If you play while your didgeridoo is on a hard surface and facing a hard wall, it will reflect some of the sound back to you, allowing you to hear it more clearly.
Listen to the quality of your basic drone. Then try some of the techniques mentioned in the previous section on playability. Alternate between playing with your cheeks in or out, and move your tongue back and forth as you drone. Listen carefully to how your didgeridoo sounds.
If the sounds of the didgeridoo are muffled, soft, dull or 'hollow', and you can't hear much variation in sound as you try different techniques, the sound quality of the didgeridoo may not be so good and you might want to try another didgeridoo.
If your didgeridoo sounds reasonably loud, clear, sharp and bright, and it offers a basic range of different sounds, then this should be a good didgeridoo to consider, as long as it meets the other important criteria such as playability and backpressure.
If you are having trouble listening to your didgeridoo as you play, try to get someone else to play for you, and stand facing the bell end. Have a good listen over a couple of minutes to determine whether the sound appeals to you.

Key

Didgeridoos have a single pitch, or key, mainly determined by the length and internal dimensions of the instrument. Most well made didgeridoos are tuned professionally by the maker, so they can be played in harmony with other instruments.
Commonly available didgeridoos generally fall within the range of C to F, although they can go higher or lower. Longer or wide bored didgeridoos (with a large volume within the chamber) play in a low key, while shorter or narrow bore didgeridoos (with a smaller volume) play in a higher key.
Lower key didgeridoos, with the greater volume of air inside the didge, require more air to be blown into the didgeridoo for the lips to vibrate. This contributes to a lower backpressure didgeridoo.
Different keys have certain characteristics that will suit different players. Those looking to play low, earthy, bassy drones in a slow and meditative way will prefer the lower, warmer drone of the lower keyed, C or D didges.
Those wishing to play sharper, snappier rhythms will prefer the bright, crisp drones of the higher, E or F didges. Those looking for didges in the mid-range will enjoy D didges for their diversity.  D, E or F didges are best for beginners to learn on, as they offer best playability. See the chart and listen to the audio files below for a better understanding of didgeridoo keys.

Chart showing the relationship of commonly available didgeridoo keys to the sound of the drone and the capability for playing fast rhythms.

							G
						F
					E
				D
			C
		B

This relates to the chart above. Click on the buttons to hear how the pitch and playing speed is affected by the key (indicative).
Higher key didgeridoos have less volume of air inside them, so they don't require as much air to be blown into it to play. This creates a higher backpressure didgeridoo.
Because higher key didges require less air to play and generally have good backpressure, they are good to start out on, and are easier for learning circular breathing where conserving your air is most important.
Advanced players will make great sounds on any didgeridoo, although they would also tend towards the higher keyed E, F or G didges if they are looking to play fast, complex rhythms. Lower keyed didges, while great for making powerful, rumbling, meditative drones, are not conducive for fast, intricate playing.
Personally, I enjoy playing higher keyed didgeridoos because they allow me to play faster rhythms. I started playing with a D key didgeridoo, but eventually moved to highger key didgeridoos when I wanted to play more advanced rhythms. I also like the higher pitch of the E and F didgeridoos and the level of energy it offers. These higher keys also have the ability to cut through distracting noises when you are playing for an audience and have a lot of impact. I also find E and F didgeridoos to offer the most diverse range of sounds.

ABOUT THE DIDGERIDOO

Women and the didgeridoo

There is much debate over whether women can play the didgeridoo and it certainly has caused its fair share of controversy on occasion. When book publishers Harper Collins published 'The Daring Book for Girls' which encouraged girls to play didgeridoo, and when Nicole Kidman 'played' the didgeridoo on German TV, media attention fuelled the controversy.
This media attention, as always, perpetuated the idea that it is taboo for women to play the didgeridoo and that harm could come to them as a result.
So can women play the didgeridoo? As I am unqualified to comment on this sensitive topic, I will instead quote directly from the web site of Buku-Larrngay Mulka Art Centre and Museum, the primary cultural centre for Northeast Arnhemland:
"It may differ in other Aboriginal communities, but in the Miwatj, the majority opinion is that no harm will come to women who play. Playing for fun is a simple physical activity, not a dangerous spiritual one. But, most importantly, by law and custom, Yolnu women do not play yidaki. So the best advice for non-Yolnu women is to make your own choice for what you do on your own time, knowing that there are some Yolnu who would encourage you to play.
But be very sensitive about who you are with. If you are in Arnhem Land or in the presence of people from Arnhem Land, carefully check that no one will be upset before playing."
Quote taken from: http://www.yirrkala.com/yidaki/dhawu/35miyalk.html
Furthermore, ididj Australia, an important Australian didgeridoo cultural hub, has also commented on this issue:
"Despite the didjeridu being a male-oriented instrument in Australian Aboriginal culture, non-Indigenous women around the world have begun to explore the musical possibilities of the didjeridu.
There is a diversity of opinions relating to this among Aboriginal men, ranging from encouragement and amusement to indifference and downright scorn.
Generally, Aboriginal men in 'Top End' communities do not have a problem with non-Indigenous women playing the didjeridu. They reason that the cultural rules and conditions that govern behaviour in Indigenous society do not apply to non-Indigenous women, which are bound by their own set of Western laws and moral codes."
Quote taken from: http://www.ididj.com.au/theDidjeridu/play.html
For those women out there looking for some encouragement, look no further than Lies Beijerinck, the 'didge mother of Holland'. Lies leads the way in contemporary didgeridoo playing and provides a great example to all women didgeridoo players out there looking for inspiration.

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In summary

Aboriginal women generally do not play the didgeridoo as dictated by aboriginal custom.
Sources from within respected aboriginal groups who are custodians of the didgeridoo generally state that non-aboriginal women can play the didgeridoo.
Care should be taken so as not to offend aboriginal custom by playing the didgeridoo in the wrong setting or context.

HOW TO PLAY DIDGERIDOO

Learn how to play didgeridoo contemporary style!

Want to learn how to play didgeridoo? You've come to the right place! Here you will be able to learn beginner techniques on how to play the didgeridoo, including the basic drone, cheek and tongue movements, vocal effects, the horn and, of course, circular breathing. Just click on the left or click here to get straight into it!

How to Play Didgeridoo PRO!

Online access to How to Play Didgeridoo PRO is available now!

For those who want to learn even more about playing the didgeridoo, my complete online tutorial package called How to Play Didgeridoo PRO is finally here! This package gives you online access to 41 video lessons in addition to the 9 free beginner videos already available on this website.
The PRO video lessons show clear and simple, step-by-step instructions on a range of beginner to advanced didgeridoo techniques and include 105 practice and 'foundation' rhythms. The steps are individually demonstrated in each video and include subtitled didgeridoo notation showing exactly what to do, and when and where to circular breathe. An eighty page PDF e-book accompanying the lessons is also available for download.
This is a great resource for anybody wanting to learn digeridoo in-depth, and especially for those curious about how circular breathing works in the context of playing rhythms. For more information, click here.

Other cool stuff!

The web site also provides information on other related topics such as didgeridoo rhythms, choosing a didgeridoo, didgeridoo maintenance and the benefits of didgeridoo playing. With this information you will be able to answer many of your didgeridoo questions and learn all you need to start making some great sounds!
Most especially, this site has heaps of content, videos, audio files and pictures all about the didgeridoo and learning to play. The video and audio files in particular are convenient and easy to play and appear all throughout this website to really give you a good understanding of the topic or technique.
Click on the YouTube video below as an example. This is my YouTube video tutorial on how to circular breathe. For a complete rundown on circular breathing, go to my pages on circular breathing.
Also, click on the button below for a quick sample of the audio files that appear throughout this website.

To learn how to play this rhythm, first go to my pages on how to play didgeridoo to learn the techniques involved. Then go to my pages on building rhythms to see how this rhythm evolved!

You will also be able to get involved by voting on one of the many polls throughout the site. I find polls a great way of providing fascinating insight into public opinion on certain topics, so make sure to vote and then see how the rest of the world thinks. In fact, you can try one now by clicking on the poll in the sidebar to the right.

What is contemporary didgeridoo?

Contemporary didgeridoo is any style of didgeridoo playing played in the context of modern, contemporary music. Contemporary didgeridoo utilises the essential shape of the didgeridoo, that being a long, hollow tube, to produce a unique sound that can be used in all manner of contemporary music settings.
The traditional style of didgeridoo is played, and best taught by, the indigenous Australians who are the traditional owners of the didgeridoo. For information on where to learn more about traditional didgeridoo, click here.

The didgeridoo can be used as a modern-day musical instrument.

The contemporary didgeridoo style is that played by all those musicians, buskers and lounge room didgeridoo players out there who play because they love the sound of the didgeridoo and enjoy its unique qualities as a musical instrument. The contemporary playing style is largely left up to the imagination, influences and skill of the players as to what kind of sounds and rhythms they want to play.

Enjoy!

So look around! Click on the links to the left for heaps of free info and videos that will definitely help you get started knowing all about didgeridoos and didgeridoo playing. Now pick that lonely didge up out of the corner. It's time to make it sing!

Rob

Note: I am not an aboriginal person but have developed a passion for the didgeridoo and respect for the aboriginal culture. I acknowledge the indigenous people of Australia as the traditional owners of the didgeridoo.
This web site is intended to provide information on the didgeridoo as it is played in a modern, contemporary style. I am not qualified to give advice on traditional playing styles and do not pretend to.
Any information on traditional playing styles should come from the traditional owners, or those who have been allowed to pass on teachings. If you want to know more about traditional aboriginal playing, visit my page on traditional didgeridoo to find out where to seek more information.

Didgeridoo

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For the Aphex Twin single, see Digeridoo (EP).

Didgeridoo

A, B and C: Three didgeridoos that were crafted and decorated by traditional custodians of the instrument D: Typical non-traditional Aboriginal didgeridoo made for tourist trade with non-traditional decorations E: A didgeridoo made by non-Aboriginals in Australia, not decorated
Brass instrument
Classification	Wind Aerophone
Hornbostel–Sachs classification	(Aerophone sounded by lip movement)
Playing range
Written range:
Related instruments
Trumpet, Flugelhorn, Cornet, Bugle, Natural trumpet, Post horn, Roman tuba, Bucina, Shofar, Conch, Lur, Baritone horn, Bronze Age Irish Horn

Didgeridoo and Clapstick players performing at Nightcliff, Northern Territory

The didgeridoo (also known as a didjeridu) is a wind instrument developed by Indigenous Australians of northern Australia around 1,500 years ago and still in widespread use today both in Australia and around the world. It is sometimes described as a natural wooden trumpet or "drone pipe". Musicologists classify it as a brass aerophone.^[1]
There are no reliable sources stating the didgeridoo's exact age. Archaeological studies of rock art in Northern Australia suggest that the people of the Kakadu region of the Northern Territory have been using the didgeridoo for less than 1,000 years, based on the dating of paintings on cave walls and shelters from this period.^[2] A clear rock painting in Ginga Wardelirrhmeng, on the northern edge of the Arnhem Land plateau, from the freshwater period^[3] shows a didgeridoo player and two songmen participating in an Ubarr Ceremony.^[4]
A modern didgeridoo is usually cylindrical or conical, and can measure anywhere from 1 to 3 m (3 to 10 ft) long. Most are around 1.2 m (4 ft) long. Generally, the longer the instrument, the lower the pitch or key of the instrument. However, flared instruments play a higher pitch than unflared instruments of the same length.

Names & etymology

There are numerous names for the instrument among the Aboriginal peoples of northern Australia, none of which closely resemble the word "didgeridoo" (see below). Many didgeridoo enthusiasts and some scholars advocate reserving local names for traditional instruments, and this practice has been endorsed by some Aboriginal community organisations.^[5] However, in everyday conversation, bilingual Aboriginal people will often use the word "didgeridoo" interchangeably with the instrument's name in their own language.
"Didgeridoo" is considered to be an onomatopoetic word of Western invention. The earliest occurrences of the word in print include a 1919 issue of Smith's Weekly where it was referred to as an "infernal didjerry" which "produced but one sound – (phonic) didjerry, didjerry, didjerry and so on ad infinitum", the 1919 Australian National Dictionary, The Bulletin in 1924 and the writings of Herbert Basedow in 1926.
A rival explanation, that didgeridoo is a corruption of the Irish language (Gaelic) phrase dúdaire dubh or dúidire dúth, is controversial.^[6] Dúdaire/dúidire is a noun that may mean, depending on the context, "trumpeter", "hummer", "crooner", "long-necked person", "puffer", "eavesdropper", or "chain smoker", while dubh means "black" and dúth means "native".
Yiḏaki (sometimes spelt yirdaki) is one of the most commonly used names, although – strictly speaking – it refers to a specific type of instrument made and used by the Yolngu people of north-east Arnhem Land. However, since the passing, in early 2011, of a Manggalili-clan man whose name sounds similar to yiḏaki, Yolngu themselves now use the synonym mandapul to refer to the instrument, out of respect for the deceased.
There are numerous other, regional names for the didgeridoo. The following are some of the more common of these.^[7]